Paris metro entrances

Paris metro entrances
Paris metro entrances
Anonim

On many occasions the Art Nouveau style architecture is more related to cities like Barcelona in Spain where he worked Antoni Gaudí or with Brussels in Belgium where some of Victor Horta's best works can be found. However, in the late 19th and early 20th centuries, Paris was the capital of the art world and great painters and sculptors triumphed there. And of course Modernism or Art Nouveau was also born there, whose name means “new art” and therefore opposed to the previous more academic art.

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Paris metro entrances

Well, the very denomination of Art Nouveau also arose in Paris, since the Maison de l'Art Nouveau was created there, an art gallery whose speci alty was the interior design and the decorative arts. And it is that the modernist current has an enormous decorative spirit and draws on many and varied sources of inspiration for its creations.

And if we continue in Paris, of course there are some other interesting modernist constructions, but perhaps what best summarizes the characteristics of Art Nouveau are the subway entrances made by Hector Guimard. A creator who designed two different models for this element of urban furniture, and with these two types up to 141 entrances to the Parisian metro were made between 1899 and 1913.

In its beginnings it was about verycriticized, and even came to be known disparagingly as the "spaghetti". However, today they have become one of the most charismatic images of the French capital.

Guimardhe had traveled to Brussels and there he admired works such as the Tassel House by Victor Horta, an architect he admired. And he also loved the idea of ​​Modernism of being inspired by the forms of nature, which led him to discard straight lines, and opt for curves, the sinuous and memories of the vegetable. Something for which the material of iron was ideal, since its forging allowed very decorative and at the same time very slender constructions, since they did not have to be very thick for them to be structures that would remain standing. Without forgetting that it was also a cheaper material.

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Another model of a Parisian subway entrance

Cast iron was a new material that had entered architecture strongly, as well as glass, which Guimard also used. In addition, the combined use of both materials allowed him to create the most inspiring shapes, as in the case of the second subway entrance model, because there with its canopy it seems to want to evoke the wings of a dragonfly, perched on the plants that it reminds the lower part of iron.

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